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Full text of "Catalogue 1925-1926"

The Curtis Institute of Music 

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THE CURTIS INSTITUTE 




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1925 - 1926 




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The Curtis Institute 
of Music 

Endowed 

By MARY LOUISE CURTIS BOK 




CATALOGUE 
19254926 



RITTENHOUSE SQUARE 
PHILADELPHIA : PENNSYLVANIA 



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The Curtis Institute of Music 

WAS CREATED, IN 1924, 
UNDER AN ENDOWMENT 

By Mary Louise Curtis Bok 

AND IS OPERATED UNDER A CHARTER OF 
THE COMMONWEALTH OF PENNSYLVANIA 



two 




Officers 

of 
The Curtis Institute of Music 

President 
Mrs. Mary Louise Curtis Bok 

Vice President 
Philip S. Collins 

Secretary and Treasurer 
WiLLL\M Curtis Bok 

Board of Directors 

Mrs. Mary Louise Curtis Bok 
WiLLL\M Curtis Bok 

Philip S. Collins 
Cyrus H. K. Curtis 
Mrs. Samuel S. Fels 



Advisory Council 



Felix Adler 
Edward W. Bok 
Cyrus H. K. Curtis 
r Walter Fischer 
Carl Flesch 
Ossip Gabrilowitsch 



Josef Hofmann 

WiLLEM MeNGELBERG 

Mme. Marcella Sembrich 
Leopold Stokowski 
Ernest Urchs ^• 
Edward Ziegler 



thret 




The Executive Stajf 

of 

The Curtis Institute of Music 

William E. Walter 
Executive Director 

Grace H. Spofford 
Dean 

Emily L. McCallip 
Counselor to the Student Body 

Eleanor James 
Registrar 

H. W. Eastman 
Comptroller 

The Address of the Institute 

rittenhouse square 
Philadelphia Pennsylvania 



four 



1 i. 







IliE f urtisinstltute of gusic 

En6ot«ed by Alary Louise Curtis jB ok 

A Statement bj' the Founder: f; ■' 

It is my aim that earnest students shall acquire a j ; 

thorough musical education, not learning only to sing or i ' / 

play, but also the history of music, the laws of its making, ' ,' , 

languages, ear'training and music appreciation. j > 

They shall learn to think and to express their thoughts 1^1 

against a background of quiet culture, with the stimulus | >J 

of personal contact with artist-teachers who represent the :^', 

highest and finest in their art. |;|cr 

The aim is for quality of the work rather than quick,* | ^ . jj 

showy results. | > ■< 

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Decoration by 
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Drawing by Riiyl 



Entrance Hall of Main Building 
The Curtis Institute of Music 







DraiL'ing by Rnyl 



The Executive Department Buildinj 
The Curtis Institute of Music 




Two of the most beautiful residences in Philadelphia 
were erected by Mr. George W. Childs Drexel, of the 
family of the banking house of Drexel and Company, and 
by Mr. Theodore F. Cramp, of the family of the Cramp 
shipyards. 

One of these homes faces the carefully-gardened 
Rittenhouse Square, the centre of the choicest residential 
section of the city, the other is adjacent to it. 

These two private mansions embodied in a peculiar 
sense, the beauty, the elegance and the home-like quality 
which it was the desire of the founder of The Curtis 
Institute of Music that the new institution should possess. 
Accordingly, they were purchased, together with a third 
adjoining house, remodeled, and are now the home of the 
Institute. 

The location of the houses is also most desirable. 
In a neighborhood of residential quiet, it is nevertheless 
only four squares from the heart of the city where occur, 
during each season, the eighteen performances of grand 
opera by The Metropolitan Opera Company of New York, 
the more than seventy symphonic concerts by The Phila- 
delphia Orchestra, and the continuous succession of mus- 
ical, literary and dram.atic events, by the foremost artists 
of the world, which Philadelphia annually presents. 



five 




The Purpose of the Institute 

The distinctive quality of The Curtis Institute of 
Music lies in the beHef of the founder that while music 
may be taught in all its branches by masters of the art, 
the student who would have received only this instruction 
would be ill equipped to stand before the world as a well' 
grounded, thoroughly-trained musician. 

Following this conviction, the Institute offers, in 
addition to musical instruction by artists of authoritative 
achievement, an opportunity, in its Academic Courses, for 
its students to acquire a true conception of the history of 
the world in which they live, a study of the interrelation- 
ships of the allied arts, the principles of psychology, 
languages, diction, a course of reading of the great poets 
and writers of all ages, and a survey of the world's his- 
tory for its bearing on the development of the arts. 

For these courses it draws upon the Faculties of The 
University of Pennsylvania, Princeton University, Bryn 
Mawr College, etc. 

The Institute offers, therefore, a distinctive academic 
course as forming a direct part of its musical instruction, 
so that a student may graduate from the Institute not only 
with a knowledge of the best in music but with a carefully 
taught cultural background. 

A Curtis Institute pupil leaves it, therefore, with 
something more than the acquisition of a technical musical 
knowledge. 



SIX 




The various Departments of The Curtis Institute of 
Music are under the personal direction and supervision 
of the following members of its Faculty: 

Marcella Sembrich, Voice 

Josef Hofmann, Piano 

Carl Flesch, Violin 

Louis Bailly, Viola 

Felix Salmond, Violoncello 

Carlos Salzedo, Harp 

Leopold Stokowski, Orchestral Training 

George A. Wedge, Theory', Etc. 

ROSARIO ScALERO, Composition, Etc. 

Lawrence Adler, Academic Courses 

These artists, in each instance, in addition to their 
duties as Directors and Supervisors, personally instruct a 
limited number of pupils. 



seven 




A Ision-Commercial Institution 

A further note of distinction, and a most important 
one, is that The Curtis Institute of Music is an endowed 
institution, and is thus fortunately removed from commer' 
cial considerations. 



The Aim of The Institute 

The fortunate presence of this, endowment makes it 
possible for The Curtis Institute of Music to realizie its aim 
which is exactly the reverse of accepting and producing 
musical students in large numbers. It looks to the quality 
of its students rather than to the quantity. It confines 
its enrollment to a number which it can adequately and 
thoroughly instruct. It is discriminating in its acceptance 
of students, and is even more regardful of the manner in 
which its pupils are taught. It tries equally to serve 
students who wish to be concert artists and those who 
intend to become teachers. It offers freely, therefore, its 
distinctive features at moderate fees, so that its influence 
may be of the widest range, in order that it may make a 
distinct contribution to the musical life of America. 

To this policy every instructor in The Curtis Institute 
is committed. 



eight 




Photograph by Mishkin 

Madame Marcella Sembrich 
Director, Vocal Department, The Curtis Institute of Music 




Plwtograph by Mishkin 

Josef Hofmann 
Director, Piano Department, The Curtis Institute of Music 




The Calendar 

For the Season of 
1925^1926 

Entrance Examinations .... September 21-26 1925 

First Term Begins October 1 1925 

Second Term Begins February 1 1926 

Second Term Ends May 29 1926 

Commencement June 4 1926 

Holidays 

Thanksgiving Thursday, November 26 1925 

Christmas Vacation ." December 2 3 -January 3 (inclusive) 

Washington's Birthday February 22 1926 

Easter Vacation April 1-7 (inclusive) 

All applications, whether in person or by mail, should 
be made to 

The Executive Director 

The Curtis Institute of Music 

rittenhouse square 

philadelphia pennsylvania 



time 




Faculty 



of 

The Curtis Institute of Music 

1925-1926 

Voice 
Marcella Sembrich 
Madame Charles Cahier Hor^^tio Connell 

(Special Master Classes) 

Madeleine Walther 



Emilio de Gogorza 



Operatic Coaching 
Richard Hageman 

Piano 
Josef Hofmann 
David Saperton, Assistant 
Wilhelm Bachaus Wanda Landowska 

George Boyle Isabelle Vengerova 

Violin 
Carl Flesch 

Sascha Jacobinoff 
Emanuel Zetlin 



Frank Gittelson 
Richard Hartzer 

Violoncello 
Felix Salmond 



Louis Bailly 



Viola 
Louis Bailly 

Ensemble 
Felix Salmond 



Harp 
Carlos Salzedo 

Louis Svecenski 



Orchestra 

Leopold Stokowski Conductor 

Thaddeus Rich Associate Conductor 



ten 




Orchestral Instruments 

Bass, Anton Torello Horn, Anton Horner 

Flute, William M. Kinc'aid Trumpet, Sol Cohen 

Ohoe, Marcel Tabuteau Trombone, Gardell Simons 

Clarinet, Daniel Bonade and Paul Lotz 

Bassoon, Walter Guetter Tuha, Philip A. Donatelli 

Tympani and Battery, Oscar Schwar 

(All the above teachers are solo players of the 
Philadelphia Orchestra) 

Composition 
RosARio Scalero 

Theory, Etc. 

George A. Wedge 

Ethel S. Drummond Helen W. Whiley 

N. Lindsay Norden 



eleven 




Courses of Study 



All courses of study at the Curtis Institute of Music 

comprise three groups of subjects: Practical, ^Theoretic, 

and Academic. ^ 

Voice 
Voice 

One or two lessons weekly. 

lAusicidnship 

Theory One hour a week 

Sight Singing One hour 

Dictation One hour 

Piano (Secondary) One-half hour 

Form and Analysis One hour 

Chorus Two hours 

Diction Two hours 

Operatic Coaching and 

Repertoire One hour 

Academic Subjects (See Pages 26'37j 

Two languages required, and one other academic 
subject elective; subject to the approval of the Dean 
and the Director of the Academic Department. 

Lectures 

History of Music or Music Appreciation . One hour 
Comparative Arts One hour 

Operatic Coaching and Repertoire 

This course is planned to famihari2;e students with 
important operas and best examples of song literature. 
Arias and songs will be treated both from the standpoint 
of the musical and literary content. 



twelve 




Piano 

Piano 

One lesson weekly. 

Musicianship 

Theory One hour a week 

Keyboard Harmony One hour 

Sight Singing One hour 

Dictation One hour 

Form and Analysis One hour 

Ensemble Two hours 

Academic Subjects (See Pages 26-37) 

Two courses,, elective; subject to the approval of the 
Dean and the Director of the Academic Department. 

Lectures 

History of Music or Music Appreciation . One hour 
Comparative Arts One hour 

A special course in "Style and Interpretation of Old 
Music following the Principles of the Great Masters of 
the Seventeenth and Eighteenth Centuries" will be given 
by Madame Wanda Landowska. 

In her studio, Madame Landowska will have a harp' 
sichord, a clavichord and a square piano upon which she 
will demonstrate the particular technique and idiom of 
these instruments and then transcribe this to the modern 
piano. 

Violin, Viola, Violoncello, Harp, Etc. 

Instrument 

One hour lesson weekly. 



thirteen 




Musicianship 

Theory One hour a week 

Sight Singing One hour 

Dictation One hour 

Form and Analysis One hour 

Piano (Secondary) One-half hour '' 

Ensemble Two hours 

Orchestra Two hours 

Academic Subjects (See Pages 26-37) 

Two courses, elective; subject to the approval of the 
Dean and the Director of the Academic Department. 

Lectures 

History of Music or Music Appreciation . One hour 
Comparative Arts One hour 

Ensemble 
Ensemble playing gives students the opportunity to 
apply practically what they have been taught in a theor-' 
etical manner. It gives them routine and technique in 
chamber music, and thus it is required of all students of 
stringed instruments and recommended to all piano 
students. 

Harp Ensemhle 
Harp Ensemble classes will be formed on the model of 
the Salzedo Harp Ensemble — in polyphonic form. 



fourteen 




Photofiraph by Goldcnsky 

Leopold Stokowski 
Director of Orchestral Training, The Curtis Institute of Music 




Photograph by Kubey-Rembrandt 

Carl Flesch 
Director of the Violin Department, The Curtis Institute of Music 




The Orchestra 

For students of all stringed instruments, as well as 
those speciali2;ing in wood-wind, brass and percussion, 
training in orchestral technique and routine is invaluable. 

The opportunities for such training offered by The 
Curtis Institute of Music are unique. Dr. Leopold 
Stokowski, the salient figure among the great conductors 
of today, personally trains and drills the student orchestras. 
In this work he has the assistance of the Associate Con- 
ductor, Dr. Thaddeus Rich, who is the assistant conductor 
and concert master of the Philadelphia Orchestra. In 
other words, the students of The Curtis Institute of Music 
receive the training which has made the Philadelphia 
Orchestra the foremost in the world. 

The value of this training is enhanced by the presence 
in the orchestras of various solo players of the Philadelphia 
Orchestra. Membership in these orchestras is required 
of all students of stringed and orchestral instruments 
(young men and young women alike). 

In order to extend as far as possible the influence of 
this work, membership in the student orchestras is open 
(without fee) to a limited number of qualified players not 
otherwise connected with the Institute. 



fifteen 




Courses in Orchestral Instruments 

There is in the United States a serious lack of players 
of wood-wind, brass and percussion instruments quaHfied 
to hold posts in the many symphony orchestras scattered 
through the country. There exist today more excellent 
positions, waiting to be worthily filled, than there are 
players ready to fill them. Especially is this true now that 
the present immigration laws have practically cut off 
Europe as a source of such players. 

It is the plan of The Curtis Institute of Music to build 
a school to supply this demand. To this end arrangements 
have been made whereby it can offer unequalled advan- 
tages to young men and young women ambitious to 
embrace these branches of the art. 

For teachers of double-bass, flute, oboe, clarinet, 
bassoon, French horn, trumpet, trombone, tuba, tympani 
and other instruments of percussion it offers artists who 
hold in the Philadelphia Orchestra the posts of solo players 
of these various instruments. Each is a master of great 
reputation. 

Special terms for such instruction will be found on 
page 39. 



sixteen 




Outline for the Theoretic Course 

Grade I — Preparatory course. Elements of music, scales, 
signatures, intervals, chords, and melody 
writing. 

Grade I Elementary harmony through the Dominant 

seventh and inversions. Simple modulations, 
melody writing and elementary counterpoint. 
The study and analysis of form. 

Grade II Advanced harmony and figuration. Practical 
composition in the smaller forms from the 
phrase to the extended double-period. Anal' 

ysis. 

Grade II (Singers) 

The writing and harmoni2;ation of melodies 
employing all chords and inversions, chrc 
matic harmony and modulations. Meter, 
rhythm and accent as applied to the setting 
of words. The study of the construction and 
interpretation of Recitative as found in the 
standard oratorios. 

Grade III The completion of harmony and figuration. 
Practical composition in the smaller forms 
from the double-period to the song form with 
trio. 

Grade III (Singers) 

The writing and harmoni2;ation of melodies 
employing all chromatic chords, modulations 
and embellishing tones. The study of Form 
in music and its correlation with the forms 



seventeen 




used in prose and poetry. The analysis and 
interpretation of the aria and German, French 
and English songs. 

Grade IV Counterpoint. The study and writing of two 
and three voice preludes and inventions in 
the style of Bach. 

Grade V Advanced counterpoint. Study and writing 
of fugue, single and double, and the canon. 

Grade VI Practical composition in the larger forms; the 
chaconne, variation, rondo and sonata'allegro. 

Grade VII Orchestration. 



eighteen 






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Course in Dictation and Sight Singing 

Elementary 
The study of pitch and rhythm, applying the work of 
Elementary Theory. The singing, aural recognition and 
writing of major and minor triads, all intervals in the I 
and V chords and melodies in phrase and period forms. 
Transposition. Pitch, rhythmic, visual and memory drills. 

First Tear 

The study of pitch and rhythm, applying the work of 
Theory I. The singing, aural recognition and writing of 
all triads and dominant seventh chord and its inversions; 
all intervals in major and minor keys and melodies in 
phrase and period form. Next related modulations. Trans' 
position. Rhythmic, visual and memory drills. 

Second Tear 

The study of pitch and rhythm, applying the work of 
Theory II. The singing, aural recognition and writing of 
all discords and their inversions, modulations, chromatic 
ally altered chords and melodies containing difficult skips 
and rhythms in Period and Double Period Form. Rhyth' 
mic, visual and memory drills. Transposition. 

Third Tear 

(Instrumental) 

The study of pitch and rhythm, applying the work of 

Theory III. The singing, aural recognition and writing 

of all chromatic harmony, modulations, embellishments and 

rhythms in the small forms. Sight reading in the C clefs. 



nineteen 




Third Tear 

(Singers) 
Difficult sight-singing, including ensemble singing and 
sight'reading with words. 

Fourth Tear 

The writing from dictation of the chorales of Bach 
in score using the C clefs. The aural recognition and 
analysis of modern compositions. 



twenty 




Keyboard Harmony 



Elementary 

The application at the keyboard of all points covered 
in Elementary Theory (to be given in the regular Theory- 
classes) . 

First Tear 

The playing arid connecting of all triads and the 
dominant seventh chord and its inversions as used in 
Harmony; also in broken and arpeggio forms applying 
metric and rhythmic principles. 

The harmoni2;ation of melodies in four-part harmony 
and in free piano style of accompaniment. The improviza' 
tion of melodies with and without accompaniment in 
phrase and period forms. The transposition of melodies, 
chords and short piano pieces. Simple modulations. 

Second Tear 

The application at the keyboard of the material of 
II Theory. Harmoni2;ation of melodies. Improvi2;ation in 
Double Period Form. Transposition; Modulation. 

Third Tear 

The continuation of II, applying the work of III The- 
ory. Improvi2;ation in Song Forms; Transposition; Modu' 
lation with motive. 

Fourth Tear 
The study of choral embellishment and simple contra- 
puntal imitation as exempHfied in the Bach Chorals. Im- 
provisations in contrapuntal style; Transposition. 



twentyone 




Recitals 

Recitals will be given throughout the year by mem' 
bers of the faculty. At these recitals an intimate and 
informal atmosphere will be maintained. In the season of 
1924'25, two series of such recitals were given. 

Academy of Music Foyer Series 
February 12 . Madame Charles Cahier . . Contralto 

March 5 i ^^^^ Flesch Violinist 

\ Josef Hofmann Pianist 

April 16 i Horace Britt Violoncellist 

\ Carlos Salzedo Harpist 

Series in the Concert Room of the Institute 

February 5 . Emanuel Zetlin Violinist 

February 16 . Michael Press Violinist 

February 18 . Austin Conradi Pianist 

February 24 . Horatio Connell Baritone 

February 26 . George Boyle Pianist 

March 10 . . Berthe Bert Pianist 

March 12 . . Madame Charles Cahier . . Contralto 

March 18 . . Carl Flesch Violinist 

March 23 . . Isabelle Vengerova Pianist 

March 25 . . Josef Hofmann Pianist 

March 26 . . Sascha Jacobinoff .... Violinist 

April 2 . . Frank Gittelson Violinist 

April 30 . . David Saperton Pianist 

May 6 i George Boyle Pianist 

\ Frank Gittelson Violinist 

Sixteen Students' Concerts were given in the Season 
of 1924-25, with programs presented by students in piano, 
voice, violin, viola, cello, harp and ensemble. 



twentytwo 




Entrance Examinations 

Only applicants properly qualified not only by prev 
ious training but by evidence of talent will be accepted. 

The entrance examinations will be held during the 
week of September 21-26, 1925. A fee of $20, payable 
before the examination, will be required of all candidates. 
The fee will be credited on the first tuition payment of 
those applicants who are accepted, and refunded in case of 
scholarship. 



twentythree 




Requirements 



Voice 

Applicants for admission to the Vocal Department 
must qualify first as to voice, and, second, as to natural 
musical aptitude. Previous musical education is with them 
of less importance, although such training will carry 
weight with the examiners. A knowledge of languages 
is desirable. 

Fiano 

Candidates must be able to play satisfactorily from 
memory all major and minor scales and arpeggios; selected 
studies from C^erny, Opus 740; Bach Three-Part Inven- 
tions; a movement of a Beethoven Sonata, or a composi- 
tion of equal difficulty. 

Violin 

Candidates must be able to play satisfactorily all 
major and minor scales and arpeggios in three and four 
octaves. They should also have sufficient training in 
double stop playing, and the ability to play the Kreutzer 
Exercises and from memory a concerto from one of the 
following composers: Spohr, De Beriot, Kreutzer, Viotti, 
Rode, or a composition of equal difficulty. 

Violoncello 

Candidates must be able to play satisfactorily from 
memory all major and minor scales, arpeggios, and a con- 
certo by Golterman, Romberg, Klengel, or some other 
composition of equal difficulty. 



twentyfour 




Harp 

An applicant must have at least an elementary knowl' 
edge of music and must be physically adapted to the harp. 

Orchestral Instruments 

An applicant must have at least an elementary knowl- 
edge of music and be physically fitted for the instrument 
he desires to play. 

Musicianship 

All students will be examined in general musicianship 
(Ear Training, Theory, Etc.) and will be graded. 

These are minimum requirements. Students offering 
more advanced work will be given full credit and be rated 
according to their proficiency. 

Assignment to Teachers 

Students are assigned to teachers in accordance with 
the recommendation of the Examiners. Requests for 
instruction with particular teachers will be given careful 
consideration, but the right is reserved to make such assign- 
ments as seem to be for the best interests of the students. 



twenty'five 




The Academic Department 

Lawrence Adler, Director 

The Faculty 
Lawrence Adler, A.M., A.B. 

Jean B. Beck, B.L., Ph.D. 

Professor of Romance Languages and Literature 

Lecturer on the History of Music 

University of Pennsylvania 

William Page Harbeson, B.S., LL. B., Ph.D. 

Assistant Professor of- English 
University of Pennsylvania 

Gordon C. King 
Author 

Samuel Arthur King, M.A., (Lond.) 

Lecturer in English Diction 

Bryn Mawr College 

Elton Mayo, A.M., M.D. 

University of Pennsylvania 
Rockefeller Foundation 

ROSARIO SCALERO 

Composer and Theorist 

DOMENICO VlTTORINI, A.M., Litt.D. 

Assistant Professor of Romance Languages and Literature 

University of Pennsylvania 



twentysix 




Photograph by Franz Lowy — Vienna 

Madame Charles Cahier 
Instructor of the Voice, The Curtis Institute of Music 




Plwtocjraph by Kesslcrc. 

Wjlhelm Bachaus 
Instructor of the Piano, The Curtis Institute of Music 




Hermann J. Weigand, Ph.D. 

Assistant Professor of German 

University of Pennsylvania 

Jean Frois Wittman 

Graduate School 
Princeton University 



The Academic Department aims to give the students 
of the Curtis Institute, under a minimum time schedule, 
the collegiate background and understanding of cultural 
values essential to the true development of an artist. 

Chief among the contributing factors toward such 
an end are the study of languages, Hterature, fine arts, 
history and psychological research. 

The aim of the Academic Course of the Institute is 
likewise to emphasise the fundamental unity underlying 
the various art forms in order to develop the students' 
deeper conception of art and life and to suggest a higher 
ideal of personal ethics. 

Students, unless excused for some valid reason, are 
required to study at least two academic subjects each term 
and to attend certain lectures. 

The Academic Courses are as follows: 

English 
Dr. William Page Harbeson 
I. A Course in readings in English Literature. 

This will include a brief history of English Literature, 
with class readings and discussions. A series of 
critical papers on leading forms of poetry and prose 
will be required. 



twentyseven 




11. A Course in Advanced Composition. 

This will comprise an informal discussion group, 
attention being devoted not so much to matters of 
syntax and grammatical construction, as to the 
development of the choice and arrangement of 
material. Open to the public. 

III. A Course in English Poetry. 

A series of readings of the later English Poets, from 
Cowper and Crabbe, through Wordsworth, Shel' 
ley, Keats, Tennyson and Browning to Swinburne. 
Open to the public. 

Gordon C. King 

IV. Comparative Literature. 

This course takes up the study of Nationalism in 
literature. Examples of various national literatures 
are the basis of class discussion and reading. This 
course is somewhat affiliated with the work in 
Music Appreciation and the study of Nationalism 
in music. Open to the public. 

Samuel Arthur King 
V. Elementary English Diction. 

A course primarily adapted to the needs of singers 
and vocal teachers. 

VI. Advanced English Diction. 

In this course the laws governing pronunciation and 
the sonant properties of speech are studied in detail. 

NOTE: All vocal students are required to take Eng' 
lish Diction at some time during the Course unless 
especially excused. 



twentyeight 




French 
Dr. Jean B. Beck 
I. French Literature of the Nineteenth Century. 

First term: Survey of the French novel; the Schools 
of Romanticism, Realism, Naturalism, Symbolism 
and Impressionism. 
Second term: Lyric and Dramatic Literature from 
the first Romanticists to the end of the Nineteenth 
Century. 
Open to the public. 

IL Advanced French Diction and Declamation. 

Training in accurate phonetic pronunciation and dra' 
matic interpretation of selected French master' 
pieces. 

Jean Frois Wittman, M.A. 

in. Elementary French. 

A conversational course emphasi2;ing more especially 
pronunciation and elementary idioms. 

IV. Intermediate French: A. 

A study of idiomatic French through reading and 
conversation. 

V. Intermediate French: B. 

A more advanced course in grammar, reading and 
conversation. 

VI. Elementary French Diction. 

A systematic study of speech sounds. Elocution in 
prose and poetry for vocal students. 



twentynine 




German 
Dr. Hermann J. Weigand 

I. Elementary German. 

A course designed to give the student a sense of the 
pattern and rhythm of German speech, and to 
enable him to read inteUigently easy German prose 
and verse. The material studied will include selec 
tions from the Grimm Brothers' ''Tales" and a 
number of lyrics. 

II. German Diction. 

This course is primarily for vocal students. The prin- 
cipal aim of this course will be to foster a con- 
sciously correct rendering of German songs through 
the intensive study of selected lyrics. 

Italian 
Dr. Domenico Vittorini 

I. Elementary Italian. 

A course including general principles of diction, 
grammar, composition and reading of short stories. 

II. Advanced ItaHan. 

A review of grammar, conversation and readings 
illustrating different phases of Italian Literature. 

III. Italian Diction. 

A course primarily for vocal students, covering the 
elements of pronunciation and correct ItaHan vocal- 
ization. 



thirty 




Drawing by Ruyl 



Department of Stringed Instruments 

and Theory 

The Curtis Institute of Music 




Drazving by Ruyl 



Entrance Hall in the Department of 

Stringed Instruments and Theory 

The Curtis Institute of Music 




History 

(Lecturer to be announced) 

Survey of History. A condensed course of the great 
movements and events in the history of the world. 

Psychology 
Dr. Elton Mayo 

Psychology — Methods of Work. 

This course is designed to aid the student to develop 
his methods of study and practice in such fashion that his 
progress will not be impeded by unnecessary difficulties. 
Attention is directed especially to certain aspects of 
biological and psychological research which have been 
shown to possess great importance for the individual in 
the right ordering of his life and work. 

Open to the public. 

The History of Music 

Dr. Jean B. Beck 

I. The Evolution of Music from its Origin to the 
Modern Age. 
This course differs from the traditional History of 
Music inasmuch as it is focused on the evolution 
of "genres," monodic and polyphonic, vocal and 
instrumental, rather than on the biographical sur' 
vey of composers. 

(Lecturer to be announced) 

IL A series of lectures on the Composers and Movements 
of the Modern Age. 
Open to the public. 



ihirtyone 




ROSARIO SCALERO 

III. The History of Musical Composition. 

This course will take up the development of music 
laying a special emphasis on the historical point of 
view. 
Open to the public. 

Music Appreciation and Criticism 
Lawrence Adler 
An advanced course of Aesthetics for students thor' 
oughly famihar with the elements of music. 
Open to the puhhc. 



thirtytwo 




A Comparative Arts Series 

Each year a Course of Lectures in the Comparative 
Arts will be given as a part of the curriculum of the 
Academic Department. 

This course traces, along broad lines, the development 
of artistic civiH2;ation, revealing the intimate relationship 
and comparative values of the Arts and emphasi^ng cur- 
rents of thought which have contributed notably to the 
development of music. 

The course considers the contribution to the cultural 
development of the human race made by music, the plastic 
arts and literature. 

The relation of Art to ethical thought and philosophy 
is also considered. 

This course will be a continuation of the series of 
1924-1925 and will consist of thirty-two lectures, begin- 
ning in November and ending in April. 

1. The Venetian School of Painting . BeUini, Veronese, 

Tintoretto, Titian, etc. 

Mr. Alfred Martin 
Ethical Culture Society, New York 

2. The Spanish School of Painting . Murillo, Velasquez, 

etc. 

Mr. Alfred Martin 

3. Spanish Literature of the Golden Age. 

Dr. James P. Wickersham Crawford 

Department of Romance Languages 
University of Pennsylvania 



thirtythree 




4. English Literature of the Eighteenth Century. 

The Journalists, Addison and Steele; the Satirists, 
Pope and Swift. 

Professor Arthur Baugh 

Department of EngHsh 
University of Pennsylvania 

5. The Scottish Romance and the Psychological 7<lovel 
Sir Walter Scott and George EHot. 

Professor J. Duncan Spaeth 

Department of EngHsh 

Princeton University 



6. Carlyle. 



Dr. Frank Aydelotte 
President of Swarthmore College 



7. Three Kiovelists of the 19th Century. 

Professor Harold G. Merriam 
Department of EngHsh 
University of Montana 

8. Wordsu;o7th and Burns. 

Professor Felix E. Schelling 
University of Pennsylvania 

9. Keats and Coleridge. 

Dr. Charles Wharton Stork 
Editor of Contemporary Verse 



thirty-four 




10. Shelley and Byron. 

Professor J. Duncan Spaeth 

11. Tennyson and Browning ... A Study in Contrasts 

Mr. Alfred Martin 

12. "Brownings Message for our Time." 

Mr. Alfred Martin 

13. German Lyricism Heinrich Heine 

14. The Dutch School of Painting and the Predecessors 

of Rembrandt 

Mr. Leo Katz 

New York City 

15. Rembrandt. 

Mr. Leo Katz 

16. The Threshold of the Modern Musical Era . Berlioz; 

Dr. Jean B. Beck 

Department of Romance Languages 

University of Pennsylvania 

17. The Literary Bac\ground of Richard Wagners Wor\. 

Professor J. Duncan Spaeth 

18. Richard Wagner and His Place in the History of all 

the Arts. 

19. Richard Strauss as the Inheritor of the Wagnerian 

Tradition. 

Professor Horace Alwyne 
Bryn Mawr College 



thirty-five 




20. The Civil War as Awa\ener of America to Self- 

Consciousness. 
Bryant, Longfellow, Lowell, Emerson and Whittier. 
Mr. Alfred Martin 

21. English Painters of the Eighteenth and J^ineteenth 

Centuries. 
Gainsborough, Reynolds, Romney, Turner, etc. 

Mr. Huger Elliot 

Metropolitan Museum of Art 

22. French Painters of the l^ineteenth Century. 
David, Millet, Corot, Daubigny, etc. 

Mr. Leo Katz 

23. The Impressionist and Modernist Painters. . . Monet, 

Manet, Rodin, Renoir, Whistler, etc. 

Professor Frank J. Mather 

Director of Fine Arts 
Princeton University 

24. The French ReaUsts . . . Balzac, Flaubert, Zola, etc. 

Dr. Jean Beck 

25. The French Symbolists .... Baudelaire, Verlaine, 

Maeterlinck, Mallarme, etc. 
Dr. Jean Beck 

26. Italian Literature of the 7\[ineteenth Century. 

Professor Domenico Vittorini 

Department of Romance Languages 
University of Pennsylvania 



ihirtysix 




Madame Wanda Landowska 

Special Courses in 17th and 18th Century Music, 
The Curtis Institute of Music 




Emilio de Gogorza 
Instructor of the Voice, The Curtis Institute of Music 




27. Modern French Music. 

28. The Modern Russian School. 

Mr. Olin Downes 
Critic of The New York Times 

29. The Austrian and German Schools. 

30. Spain and the Scandinavian Countries. 

31. The English School. 

32. Democracy — The New Social Ideal and its Interprc' 

tation in Art. 

Mr. Alfred M.^vrtin 



thirtyseven 




General Information 

The Curtis Institute has no dormitories, and does not 
assume responsibility for the housing of its students. It 
will, upon request, refer an applicant to organi2;ations 
specially equipped for the recommendation of residential 
quarters. 

The Studios throughout the Institute are equipped 
with Steinway pianos, with more than 50 instruments in 
constant use. 

To insure progress satisfactory to the Institute, the 
parents, and the pupils themselves, the Institute makes 
certain reasonable demands of its students. Regular and 
punctual class attendance, careful preparation of lessons, 
attendance at recitals by faculty and students, and co' 
operation with the requirements of the Institute, will be 
expected at all times. 

In case of absence for any cause whatsoever, notice 
should be sent or given immediately to the Registrar's 
office. 

All courses at the Institute will be arranged to insure 
the students the maximum time for practice. 

Instrumental instruction will be given individually; 
theoretical and academic courses in classes. 

A report of the student's attendance and progress 
will be presented at the end of each school year. 

Students will be expected to pass an examination in 
their principal studies at the end of each school term. 

Students faiHng to pass a satisfactory examination in 
a subject will be permitted to repeat the subject. 

Students whose work is not satisfactory, either 
through lack of effort or ability, cannot be continued as 
students of the Institut'e. 



thirty-eight 




Tuition Fees 

Full Course of Instruction, 192 5 '26 
$500.00 
Payable Strictly in Advance, in Two Installments 
October 1, 1925— $300 February 1, 1926— $200 

This covers instruction in all courses of study re 
quired by the various departments, and attendance at all 
lectures and concerts given at the Institute. 

Tuition for Special Courses 

Orchestral Instruments (without 

secondary studies) $150.00 per year 

Orchestral Instruments (including 

theory, etc., and academic courses) 250.00 

Ensemble Classes (alone) 100.00 

Composition (under Mr. Scalero) . . 250.00 

Theory 50.00 

Dictation and Sight-singing 50.00 

Keyboard Harmony 50.00 

Lectures (32) on the Comparative Arts 30.00 
Academic Courses open to the public 

(each) 25.00 



thirtynine 




The endowment has made possible a faculty of 
unusual distinction, composed of artists whose names stand 
for the highest achievements in music. The endowment 
also makes it possible for students of talent to secure indi' 
vidual instruction from these artists at a moderate expense 
as compared with what such instruction would cost in 
private lessons. The tuition fee is inclusive of whatever 
major study may be elected and all the secondary subjects 
necessary to a solid, well'rounded musical education. 

Students will be enrolled only for the entire year. 

Students admitted after the opening of the school 
term will be charged for the time during which they are 
students at the Institute. 

No refund will be made for students leaving before 
the expiration of the school year, although exceptional 
cases will receive the consideration of the Executive 
Director. 

No deduction will be made for loss of lessons, except 
in case of protracted illness of more than five weeks. In 
this case, a rebate of one-half the fee for the time lost 
will be credited on the next term's tuition, if the student 
returns to the Institute within the current year. 



forty 




Louis Bailly 
Instructor of the Viola and Ensemble, The Curtis Institute of Music 




Felix Salmond 



Instructor of the Violoncello and Ensemble, 
The Curtis Institute of Music 




Photograph by Underwood & Undern<ood. 

Carlos Salzedo 
Instructor of the Harp, The Curtis Institute of Music 





Photograph by Kcsslere. 

Richard Hageman 
Operatic Coaching, The Curtis Institute of Music 




Free Scholarships 



There are for 1925-1926 eight special free scholar- 
ships awarded by competition. They are: 

The Marcella Sembrich Scholarships (2) for Voice 
The Mr. and Mrs. John F. Braun Scholarship for 

Piano 
The Carlos SaUedo Scholarship for Harp and 

Harp Composition 
The Mr. and Mrs. Philip S. Collins Scholarship V 
The Mr. and Mrs. William Curtis Bok Scholar- 
ship for Violin or Piano 
The Eleanor Pillsbury Pennell Scholarship for 

Voice * 
The Cyrus Libbey Curtis Scholarship for Trom- 
bone V 
Other scholarships, full and partial, in all branches 
of study are available. These last will be awarded to 
students of exceptional talent whose need for them has 
been demonstrated to the Board of Directors. 



fortyone 




As the aim of The Curtis Institute of Music is for 
quahty and not quantity, the number of students is Hmited 
in order that careful individual instruction may be given to 
each pupil. For this reason, early enrollment is necessary, 
in order to avoid disappointment. 



fortytwo 



Biddle-Paret Press 
Philadelphia 









^W^^W 



kV- 



T/ie Endowment of The 
Curtis Institute of Music 
makes possible rare oppor^ 
tunities for students of talent 
















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